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Early to reverberant sound energy ratio in concert hall acoustics

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  • Early to reverberant sound energy ratio in concert hall acoustics


    Looks like the % of direct to reverbent sound energy not only varies with the Concert hall being tested but seat location and crowd size effect these numbers. I am trying to get the % of direct vs reverbent sound ave in concert halls so I can try to find the "range" of % of direct vs reverbent sound which would be best for home use. I like .ambience.

    Steve -

  • #2
    Yamaha measured several concert halls and other venues and attempted to reproduce the ambience with their DSP digital soundfield processors. I have an old one sitting in my basement. Some of the "soundfields" were pretty good, others not so much. I didn't have the means to implement the necessary speaker locations to do the system justice.

    My current Yamaha AVR has several surround modes with the same venue names.


    • #3
      Ambience is created in the mix during the mastering process, so adding more tends to be too much of a good thing.


      • #4
        I have read the % of direct vs reflected can be anywhere from 10% to 30% dependending on the hall , sitting location crowd size etc.


        • #5
          The original link deals with Concert Halls; and important considerations for them also detailed is the RT60 itself. For instance a shorter time is desired for vocal intelligibility ( high early energy/low late energy ).
          Some modern Concert Halls ( example Sauder Concert Hall ) can adjust acoustics for various types of music (i.e. full reverberation for choral music and some orchestral music; less reverberation for jazz and Contemporary Christian music).
          "Not a Speaker Designer - Not even on the Internet"
          “Pride is your greatest enemy, humility is your greatest friend.”
          "If the freedom of speech is taken away, then dumb and silent we may be led, like sheep to the slaughter."


          • #6
            You’re better off using a multichannel system with a good sound field processor. The delays required to emulate the envelopment from a concert hall is not possible to achieve using acoustic air path delay in a home Gresinger studied the requirements in detail and had many good papers at his web site before he passed away, they may still be available. It’s true that the variance between halls and seats is huge. I have specific seats for all the classical venues I visit, as some locations can be piercingly direct and others awash in bloated tubby reverb Olive and Team assessed a number of commercial implementations of sound field emulation and that data is a google search away. Toole posted his opinion recently on audio science review forums


            • #7
              Thanks for the mention of Audio Science, never heard of it before looks like a real good site , have any other sites you care to list ? Floyd Toole has some good videos on youtube , think i have watched most anyway.